Thursday, September 25, 2014

Intellectuals of all persuasions love to claim the banner of science. A vanishing few do so properly.

As usual, my commentary:

There is science, and there is the cult of science. Gobry is not anti-science, he's anti cult of science, and makes the difference rather clear, in a "preaching to the choir" sort of way... meaning, he missed a few spots. But a few spots of rust don't ruin an axe, and the main points are sound.

To many people, magic is indistinguishable from science, and the author's quite on point about that. What I do wish the author had made more clear, though, is that "magic" is in part a metaphor for technology without understanding. Keep in mind Arthur C. Clarke's Third Law: "Any sufficiently advanced technology is indistinguishable from magic". Too many people seem to believe that because they have and use devices, that they themselves are somehow scientific and advanced, even though to them there is little practical difference between a remote control and a magic wand. Science may lead to technology, but that's not a necessary requirement for either.

For the record, technology refers to techniques (physical and procedural) based on knowledge that may be acquired by science and applied by engineers. In the context being discussed, science is the application of a method. As Wikipedia phrases it, it is "a way of pursuing knowledge". As science is a procedure, it may fairly be described as a technology itself... the technology by which we gain new physical knowledge. But technologies are not science.

I'm underwhelmed by arguments claiming that earlier generations were not as advanced as "we" are, stated by people who readily use that collective pronoun without the slightest indication that they possess any of the "advanced" knowledge to which they would lay claim. I'm even more underwhelmed by people who believe that if they throw some "sciencey" words like "energy" or "resonance" into a bullshit statement, that it suddenly becomes science. The world is littered with New-Agers who practice this, and who most directly and literally confuse "science" with "magic". I've engaged a few of them on this blog.

I think Gobry errs in his characterization of folks like Dawkins and Tyson. They do not have to be leaders of a science cult in order to be figureheads for the same. I certainly don't believe that either thinks that science is "like magic". However, hordes of their fans seem to. The risk one takes when when attempting to popularize science is that it may be glamorized instead. Popularity without understanding leads to the cargo cult, despite the intent of the figurehead. I don't think the Gobry communicates that clearly, and have no idea if it's one of his beefs. It's one of mine.

Gobry does have a point, though, when pointing out that these scientists are speaking outside of their domain and areas of expertise when discussing matters of religion and philosophy. Tyson, for one, unapologetically has no interest in these subjects. Where they intersect with his show Cosmos, inaccuracies abound.

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Be careful not to let politics get in the way of your reading of what was written. For instance, the author doesn't simply state that global warming can't be predicted... rather, it's quite clearly qualified with a 100 year timeframe. This, combined with the fact that he acknowledges the fact of the greenhouse effect (and thus does not deny a global warming trend), communicates that it cannot be done with specificity.

Gobry errs in criticizing scientific predictions because it is "impossible to run an experiment on the year 2114". At least he does admit to fallibility, using "our botched understanding" in the title of the post..

Before we move on we need to understand that there is no fundamental difference between "experimentation" and "observation". An experiment is nothing more than a contrived circumstance set up in order to observe something you're not likely to see naturally. The benefits of an experiment include the fact that the conditions are reproducible and can be tightly controlled to limit the number of alternate explanations of an observation.

Furthermore, how you phrase a statement is supremely important to your understanding of the subject, and it's routinely done poorly. For instance, you may have heard it said that the average life expectancy in the Middle Ages was 35. This leads you to believe that adults tended to live until age 35, and that's completely wrong. In reality, most people died as infants, but if you made it to 21 and weren't a soldier, you'd probably make it well past 60. It's important to avoid misleading precision.

Gobry also errs in insisting upon experimentation rather than observation, and I'd also argue that his choice of 100 years may be a bit of a straw man, but his larger point is that "scientific" predictions are routinely made with inappropriate specificity. In science this is terrible because it inappropriately communicates a certainty that simply doesn't exist.

And, while you can't experiment on the future, science can certainly make predictions which are tested in the future by observation. Waiting for confirmation of a prediction simply means that the observation isn't over yet. For instance, in 2008, Al Gore did predict that North Polar cap would have completely disappeared as of 2013. This was a mere five-year prediction that was busted by observation. Now, there are reasons for that wrong prediction, but those reasons highlight Gobry's complaint about unpredictability. Anybody can make a prediction. Science is distinguished by the evidentiary basis for its predictions and their accuracy; and broad principles justify only very broad statements. Note that I'm not using Gore as an example to deny climate change... I'm pointing out crappy science. "The greenhouse effect results in globally higher temperatures" is a valid statement. But overly specific claims for systems containing a huge number of variables over a large time span are not.

Politicization of science makes for crappy science. Open inquiry is the heart of science, but when married to politics, "science", bereft of its heart, is used as a baton to shut up dissenters. While "it's settled science" is useful for that purpose, it's bad science, particularly when applied to complex systems. It discourages further inquiries in directions that may achieve significant results. For instance, while it's true that CO2 traps heat, it's also true that the Antarctic glaciers are melting due to volcanism. Today, Slashdot reported a new study that provides an alternate explanation of Pacific Northwest temperatures (do to shifting wind patterns). Knowing the contributory factors may be the difference between taking meaningful action, inappropriate action, or learning that we have no more chance of halting climate change than early humans had of halting the end of the last Ice Age.

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Putting a few of these previously discussed points together brings us to Gobry's point about "lab coats". There is the pop-culture view of science as being done by Really Smart People, coupled with a "don't try this at home, kids" mentality. In reality, "scientists" are not lab coated geniuses with special ninja science skillz. Anyone who inquires about the world and seeks answers using the Scientific Method is a scientist. Anyone..

Anyone.

One of the hallmarks of science is its egalitarian nature. In good science, an idea is evaluated on its own merits, and those are never, ever dependent on the social standing of the body in which the brain that produced the idea is housed. Of course, the observations must be sound, the methodology must be sound, and the conclusions must be logical; but those same constraints apply to every scientist everywhere.

I miss Watch Mr. Wizard. Don Herbert had a simple approach to teaching science that is largely lost on modern wannabes. A child would visit, and he and Herbert would perform some scientific experiments regarding some principle of science. Before the experiment, Herbert would ask questions prompting the child to form a hypothesis. They'd test the hypothesis and revise it as a result of experimentation, and Herbert would follow it up with the generally accepted explanation. He'd limit a show to a few related concepts explored thoroughly. No sillyness. No rat costumes. No rapid-fire shotgunning of concepts without time to reflect. Modern science education shows are strong on show-and-tell of scientific principles, but weak on instruction of science itself. Knowledge is served, not obtained. It is a consumer product.

We glamorize "science" when we should popularize the Scientific Method. There is no intrinsic barrier to science... not even religion. But the Scientific Method is rigorous, and the general public is not. This isn't a lack of capability, but a lack of instruction.

Now, I'm not a movie industry analyst. I'm not a mogul. My opinions are simply those of a moviegoer who keeps his eyes open. Even so, I'm the guy who chooses to spend... or NOT spend... his money, and if the film industry wants to avoid a downward trend, it would probably serve them well to listen to some people who aren't analysts. And you might notice that most of my examples here are science fiction movies, but that's usually what I go to see. It's the principle that's important.

MONEY, MONEY, MONEY!

Nolte rightly notes that the general cost of seeing a movie has become more expensive over time. Two trips to the theater with my family could by an Android tablet. It could buy five blockbuster movies on disk for home release. And that's just admission. One of the things I learned when I worked as an assistant manager for Plitt Theatres was that theatres don't really make any significant profit on the box office, which is why the concessions are so expensive. Expensive or not, it's the concessions that keep the place in business, not the blockbuster titles. It's not that there aren't millions of dollars to be had... it's just that the distributor is going to get 95% of it for the first week, with only a shallow reduction in that percentage for the following weeks. As a result, the cost to you, the viewer, is far greater than if the theatres were allowed to negotiate more reasonable terms. "Reasonable" is, of course, relative. These are the terms that have always existed, long before I was totalling box office receipts in the late '70s.

Popcorn pays the rent

Box office receipts, therefore, track very closely with what the studio is actually raking in. Except it isn't. Most studios separate themselves from distributors even when they're "really" the same company (as with Walt Disney and Buena Vista). Now, even when they're closely tied, production companies and distribution companies construct their contracts in such a way that almost no movie makes a profit, at least not on paper. Often this is to prevent payments to those who were stupid enough to negotiate a share of "the net". This is common knowledge, as is the fact that even when they "don't make a profit", they really do... which is why A-list actors and actresses can negotiate a $20 million payday for one month's work. Those box office receipts go to paying off investment, and the rest of it is gravy, with very little reserved for any actual expenses.

You might imagine that an environment like that might promote a little corruption.

So there's one reason why your visit to the theatre is so expensive: studio greed which forces the venue manager to jack up concession prices. Buy the Skittles anyway... it's not their fault.

OVER-PRODUCTION

But what about that ticket price? It's going up and up. That's the fault of the studio execs and the directors who have faulty ideas about what "the audience wants to see". Because there are so many millions at stake, they're often afraid to make a mistake, and thus over-produce a movie to a ridiculous extent.

Take as an example John Carter. It made a very respectable $280+ million at the box office, which should have made a few sing hallelujah. However, that didn't happen. It was considered to be a flop. The reason... it cost $250 million to produce, which in "Hollywood accounting" takes over half a billion dollars to recoup. Don't do the math, it will just make your head hurt. Keep in mind that most of the people who called it a "flop" are studio accountants. The film itself wasn't bad. And the critics who've called it "derivative" simply display an embarrassing ignorance. If it looked as if elements of the story had been "done before", that's merely because "A Princess of Mars" was the first of its genre in print.

What's missing?

But did the audience know that? How could they, when the studio did their best to hide it? Let's look at the poster, shall we?

What's missing? Maybe "Of Mars"? Or Edgar Rice Burroughs' name? These references were deliberately removed by Disney's marketers. In trying to "appeal to a broader audience" the studio suits removed the sort of thing that would have brought in a larger audience. As a result, many moviegoers... especially the younger ones who are most prone to visit the box office... didn't know what the movie was about. If they'd been honest about the source material and done their marketing right they would have significantly increased the amount of money this film brought in. The critics would have known what they were reviewing and the studio might have hit their box-office target.

Even so, the film did well enough, and could have done better had it not been over-produced.

I view myself as the ideal target audience for this film. I read the "Barsoom" books of E.R. Burroughs as a child and have re-read them several times since. This had been on my cinema wish-list for years. But when I or anybody else who's read a classic say that, it means that they want to see the story brought to life. They want to see what they've read. When a studio gets involved they start analyzing it and focus-grouping it and they start rooting around looking for a "fresh take"... Then they get caught up in the visuals and it all goes crazy. The flying ships of Helium are recognizable as ships in the books, and warships at that. In the movie they're sprawling, spidery, fragile, feathery things that seem designed simply to maximize the cost of CGI modeling. In the book, the city-state of Zodanga not only stays put, but is a veritable fortress, surrounded by walls 75 feet high and 50 feet thick. In this movie the city of Zodanga inexplicably walks around on complicated clumpy feet. And so on. The filmmakers are so busy trying to gee-whiz us with their "skillz" that they forgot what the movie was supposed to be about. Nothing of the baroque visuals added to the story, but it added to the price, all right.

Disney could have chopped the production budget in half and still made their $280 million, and I don't think that's an unreasonable statement at all. Hell, with production costs of less than a million dollars, The Asylum managed a successful direct-to-DVD release of A Princess of Mars. It sucked in comparison to John Carter, but it didn't lose money, and some of the visualizations were better. Disney has no excuse for such waste.

This kind of bungling is commonplace. Hollywood over-produces everything, and they over-produce the wrong things. So they waffle over sociology when they should just conclude that a book's success equates to "this is what people want to see". There's a reason that the top-grossing films of the last decade are faithful adaptations of popular books: Hunger Games, Harry Potter, Lord of the Rings, etc. Marvel anything is successful because they took control and are making live action comics like the ones they print rather than worrying about realism. Now Marvel unapologetically put a talking tree and raccoon on the screen, and as a result exceeded expectations for "Guardians of the Galaxy".

Of course, these are the kinds of movies that Nolte describes as "aimed at teenage fanboys". The statement betrays a misunderstanding of the superhero and sci-fi genres, but that's OK.

LACK O CREATIVITY

If you're adapting a wildly successful book to the big screen and you decide to depart from the source material significantly, then you're an idiot who deserves to be parted from his investment. Of course, by that standard, Hollywood studios are mostly staffed by idiots.

On the flip side, if you're bringing something "new" to the screen it would be best if there were a bit of originality to it. By this standard Hollywood is still mostly staffed by idiots. If anybody makes a movie that's successful, then for the next five years you'll see variations of that same movie over and over and over again. I'm not kidding.

They couldn't find a fat black woman?
Seriously?

To illustrate, I was going to use the most ridiculous example I could imagine, and compile for you a list of movies in which thin black actors dress up like fat black women. Then I remembered that this is the Internet, which means that somebody somewhere thinks that's porn, and according to Rule 34 the list must already exist. Kaynahorah, the list does exist! Not only that, it's a Top Ten list. I'm amazed, not only that they could find ten, but that they had to cut it off there.

In the same vein, you're not going to get just one of a successful movie from the same studio. There will be sequels. And the sequels will generally be worse, mostly because they're not about being creative. Instead they're about checking under the sofa cushions to make sure they've got all the money they can get from you.

Meanwhile, analysts like Doug Creutz of Cowen & Co. express surprise that sequels of remakesaren't performing as well as they expected. For crying out loud, dude, do we have to draw you a picture? Of course consumer habits are changing!

HOLLYWOOD THINKS YOU'RE STUPID

Nolte writes:

"Hollywood is making fewer theatrical films, and a huge majority of those are either aimed at teenage fanboys or the hoity-toity who attend festivals that should be called: Arty Pretentious Shit No One Will Ever See".

Touché. To all outward appearances, "Hollywood" believes you're an idiot. There are a handful of art films that win obscure awards from critics and a severely restricted list of filmmaking peers; but these seem to be created mainly to stroke the egos of the directors. They rarely make it to distribution. Don't worry, you're not smart enough to watch one, even if you could find a back-alley college cinema that's screening it.

Rather, to Hollywood, you have the attention span of a goldfish. Directors seem to think you'll forget what time you walked into the theatre, which ironically enables you to sit through a three-hour movie so long as there's a shitload of motion and color on the screen. And that's what they believe you need to see. A new movie like Orson Welles' Citizen Kane wouldn't be hailed as a classic today. It would be roasted as a snooze-fest. To make Miracle on 34th Street today you'd need to add some wacky hijinks and an elf with an attitude. The only reason people sit through older films like this today is because they've been told they're great. And upon watching them, they find that yes, they're great. But no studio could convince themselves of the fact today, to the extent that they'd be willing to back such a thing financially, regardless of genre.

You're held in that seat for three hours to justify ticket prices that are hiked up to pay for costs that are inflated because the studios pump money into "production". Meanwhile, small movies can still be great, and people will still pay a reasonable price to sit and be entertained for an hour and a quarter. Theatres are beginning to figure this out, and they're starting to capitalize on the digital technology they've been forced into by using it in other ways. Because a modern projector is basically a heavy-duty projection computer monitor, it's possible to project video from any source... not just film, but live theatre, concerts, sporting events. and conferences. Think Superbowl Sunday on steroids. Companies can use them for global teleconferencing. Everyone gets a great comfortable seat, an unobstructed view, and excellent sound. And while the classic distribution system is still in place, there's really no technical reason that a theatre can't show whatever they want so long as they deem it to be profitable. And being profitable is far easier when you can negotiate a reasonable percentage of the box office, and when the filmmaker is not burdened with the expense of printing and shipping physical film stock. With the draconian distribution process out of the way, everybody gets a bigger slice of a smaller pie.

Contrary to Doug Creutz's analysis, I think that theatre chains will adapt and do just fine.

A NEW MODEL

I've invested in a few Kickstarter projects, including indie movies. Typically these guys need a few tens of thousands of dollars or so to create a movie, and they're having to stretch that money pretty far. The cast isn't going to retire on it, and the whole production is hoping to break even. I invest in these because they're attempting to make a movie that I want to see. They tell me in advance what they're going to make, they tell me who they've got on the production staff and how they intend to use the money. Instead of selling me a ticket or a DVD, they're asking me to invest in the project, and my return is nothing less than the story I want to see. Everybody knows I want to see it before they get started, and no money exchanges hands unless there are enough investors like me to provide the production costs in full. And all during production I get regular status updates, pictures, and "making of" videos that make me feel like a part of the team.

HELLZ YEAH. That's how it's done, and if it bothers the studio heads in Hollywood that they're not making enough off of one movie to allow 500 guys like me to retire in reasonable comfort, then screw them. This is the new reality: you can either produce what people want to see and hope they pay for it, or you can tell them what you have in mind and ask if they want to be a part of it. Amazingly, people will readily spend $40 bucks to invest in a modest movie that they really want to see. That's the same $40 bucks that Disney spent $250 million to wrest out of my hands for "John Carter".

So, disappointed with a film like JJ Abrams' Star Trek, I invest in projects like Axanar, which is smaller, more intimate, and a thousand times smarter. And it can't be just me... these guys asked for $100 grand and received over $600 grand to get started. And their sales pitch is a 20 minute prelude that lets you put eyes on the quality of the finished product.

Oh, and there's one more thing about indie films... they're not tied to Hollywood, and the artificial, ridiculous expense associated with being located in "the Golden State" (by which they mean you should bring some gold with you... you're going to need it). Already, big films are made in Toronto or New Zealand because it's cheaper to ship a cast to another country and film than it is to stay put. Why should a movie need to be made by union labor in a studio in California?

Am I going to cry for Hollywood? No. I welcome the new model. Anybody who wants to make a movie, can. They need talent and ideas, which they take straight to the audience. The big studios can still survive, but not if they keep to the same path. If they can go bigger and bigger they'll eventually die out like dinosaurs. Or they can reign in the madness. Once upon a time a studio cranked out a movie a month. Films were affordable, and people saw a lot of them. But we could help them out by ditching the unhealthy fascination with discovering who "won" the "box office wars" every season. There's no such thing, and it's a stupid thing to track anyway. So long as you're seeing movies you want to see, who the hell should care whether somebody else sold more tickets?

P.S. I have to comment on Nolte's statement that "the music industry has been 'disrupted' in to oblivion." Of course that's not true, but it has changed. It is no longer necessary for someone to sign with a record label to become famous, or even earn a living. Today there are more musicians making more music heard by more people than ever before. You can get on YouTube or iTunes, and if you have talentyoucan getfamous. And just like with film projects, many musicians like Zarni have found financing for their albums through Kickstarter.

You may not get signed to a contract and bought a car, but if every musician who's had something to say about it is to be believed, that's not a terrible thing. This is a system that needs to die. But it hasn't. The end goal of big productions like "The Voice" or "American Idol" or "The X Factor" is a recording contract, and that doesn't work out for everybody. Keep in mind that the recording business has always been a minefield for most musicians. Only a very select few ever found lasting fame and fortune.

Friday, September 05, 2014

I have a bone to pick with you. Maybe a few. At least some questions to ask. You see, I shop at Walmart the same as you do. It's not like I can really avoid it. In our little town, Walmart pretty much is "the mall". But you, my fellow citizens, are not making the experience a pleasant one. Oh, I don't mean I don't enjoy bumping into you there... I do, really. But there are a host of little things that you've started doing that make the experience of shopping more difficult. So at the risk of being a curmudgeon (and I admittedly am), here's a short list:

Stopping at the door.
I honestly don't understand this one. Whoever is in front of me is going to stop just past the entrance or exit, blocking it. Typically it goes like this... entering the store, the person goes through the outer "airlock" door, gets a shopping cart (or "buggy" here in the South), walks through the inner door, and stops dead in his or her tracks, looking around as if they'd never seen the underside of a roof before, forming a nice little traffic jam behind them. I know that some autistic people have little rituals when they walk through a door, but I refuse to accept that all of you are autistic. It happens so often that I actually check myself to see if I'm unconsciously doing it. Of course, I'm not, but that's because I'm conscious of it, I suppose. Maybe if you were, you wouldn't do it. But whatever the reason, please...

Expanding.
I don't know a better word for this. In our Super Walmart, many of the aisles are big enough to drive a luxury car through. Nevertheless Walmart shoppers have perfected the technique of blocking them quite nicely. Imagine standing on one side of the aisle. In your hand grasp the handle of your cart. Now stretch that hand out, and position the cart perpendicular to the direction of traffic flow. Now contemplate whatever's in front of you for twenty minutes or so. I'd take photos and show you, except I'm not really wanting to embarrass anyone, and I'm really not wanting to pose for the photo myself. While prompting you to move does give me a valid excuse to introduce myself to you (usually startling you into jumping out of your skin), I always feel a little bit guilty about it, because you're always so very intent on deciding which ice cream it is you want, and I hate making you start over. Now me, I like to leave a little room on one side of the aisle to let other folks around me, and try to be aware of when people are trying to get to the same section I am. As a personal favor to everyone else in the store, if you find yourself expanding to fill all available space, please...

There's another form of expanding that involves having lengthy discussions with folks in high-traffic areas... I don't mind those so much as people rarely intend for the conversations to get lengthy; but when that happens to me I like to keep an eye out for the traffic around me and move the conversation, if necessary.

Cruising.
I'm really torn about this one, but it does bother me -- a lot -- so I'll say it. Walmart has done a very nice thing for people who are semi-handicapped (just having some difficulty getting around) by providing some motorized chairs. I say semi-handicapped because people who really need a wheelchair typically sit in one of their own most or all of the time. So this is really a godsend for people who are maybe using a walker, or are elderly and move slowly on their own. Or perhaps for people who are temporarily incapacitated and so don't have a wheelchair of their own. I'd have been pretty happy, for instance, if one had been available to me shortly after I had my hernia operation and had to stop by the pharmacy. But I found that a shopping cart makes a pretty good walker if you're otherwise able to get around on two legs, even with your belly sliced open and stapled shut.

Now once in a while I'll see that one is being driven by someone who has a cast on his (or her) leg or is carrying a cane or is obviously frail. More often it's just some fat guy. And yes, it can be difficult to get around when you're fat, but if you're really honest you'll admit that for most of you, that's because you don't get any exercise, which is why you're fat in the first place. I know it's why I'm fat, so I walk. Those chairs really aren't there for you. The best thing you can do for yourself is push a cart around the store like everyone else. And I know, I know... I don't know you, and I don't know your situation, yadda, yadda, yadda. But I have been curious enough about this phenomenon to pay close attention as one after another of you go through the checkout, then park the chair to jump up and stroll out of the store far more handily than your "debilitating handicap" should make possible. Maybe the chairs are fun... I certainly hope it's not because you're self-absorbed and lazy. And it's certainly fine to use the chairs if you really need them. I'm not deriding anyone with a legitimate need. But folks... folks... if you can get around ok without the chair, don't you think you should, and leave them for people who really need them? If you're abusing this charitable service, please...

I Don't Even Know What To Call This
When I Google "wearing pajamas to Walmart" I get about a quarter of a million results. It's not just the pajamas. It's going out in public dressed like ten pounds of butter in a five-pound bag... with bedroom slippers. It's wearing belts around the butt. It's not just our local store, but the ones in neighboring cities. I get it... Walmart is open late. It's still a public place. Have some pride and just...

Building Hadrian's Wall.
Lately this has become a biggie. You go to Walmart to pick up a few things. You pushed a cart around, and now, on your way out, you find that the bags are easy to manage and you don't really want to push the cart all the way out to the car and then to the corral. So you abandon it at the exit of the store. Note that you're not leaving it for someone else's convenience. You're not putting it back with the other carts, a mere ten yards from where you abandon it. You're not being helpful to anyone. You're just too lazy to dispose of the cart, and leave it there in the center of everything, blocking the door.

But wait! You're not the first! You've seen someone else do it, so it's OK for you! You're not even the second person to display a lack of consideration! No, you're the tenth or twelfth guy or gal to add to the wire-and-wheel maze at the exit doors, even though it would have cost you maybe ten seconds of your time (I've counted!) to push the cart around whatever products (today it's watermelons) Walmart has placed between the exit and the entrance. The result is that shoppers encounter a barely-negotiable obstacle course and fire hazard on attempting to exit the store.

I don't care if you've convinced your brain that you're "really" just being considerate and leaving a cart for someone else, or "making it easier for the guy who gathers the carts" (Which you're not. Just putting them in the corral would have made it easier) You're really just being rude and endangering your fellow citizens.

Stopping at the door.I know! I started the list with this one! But you do it again at the exit. Who knows why? Many of you stop between the "airlock" doors, and some just beyond, but still blocking the outer doors, presumably to check to make sure you've got the same stuff you had when you packed your bag back at the checkout. Sometimes it's to unload that cart you're about to carelessly abandon, but often the reason just isn't apparent. You just stop. Again, there's that little traffic jam behind you. Maybe you forgot where you parked. Maybe you forgot if you parked. Maybe you were assaulted by the fresh air beyond the door. I don't know. All I know is that you're going to stop right there, and nobody but nobody is going to know why.